movement, music, projections - are so seamlessly integrated...the effect is a stunning hybrid of ancient ritual and modern
music video...Opera and music lovers will not want to miss this."
Patricia Buckley and Leslie Noble, Broadway World, 2018
Reviews of Powerdove's 'War Shapes':
her fourth album, War Shapes, in the company of unorthodox musicians Chad Popple and Thomas Bonvalet. If she
could, Annie Lewandowski might extricate onomatopoeia directly from our mouths so she could store them in her sound
archives to be chopped up and reshaped into future, ingenious compositions…"
Jérémy Piette, Libération, 2017
aux sciences les plus avancées de l'improvisation. Diplomée et récompensée pour cela, elle s'inscrit dans un champ de
la musique contemporaine qu'on aime voir contaminer la pop. C'es tout l'enjeu de Powerdove, trio dont la formation, les
méthodes et le son évoluent avec le temps sans que l'identité du projet s'en trouve chamboulée…"
Vincent Théval, Magic, 2017
Reviews of Powerdove's 'Arrest':
the classical avant garde, 1970s prog folk, free improvisation and 1980s post-punk – there’s even an Arthur Russell
cover. But the references are more internalised than explicit, and the tight arrangements never fail to surprise. They
set the straight vocals of Annie Lewandowski against a churning, mostly acoustic backdrop of piano, accordion,
guitar, dobro and Thomas Bonvalet’s deep bag of assorted noise-making devices. When the arrangements turn more
song-like it’s even more bracing, with crisp melodies standing out against tart, off-kilter rhythms. But the focus is not
instrumental timbre per se, because they reach for, and achieve, a rich emotional texture."
Matthew Wuethrich, The Wire 2014
Lewandowski, virtuosity, or showy technique, “is not where the musical nourishment is.” Rather, it lies in sophisticated,
sub-basement rhythms and a wiry tension. It’s in the eaves and rafters of vacant sonic space; the charmingly
Midwestern straightness of Lewandowski’s delivery; and in the clanging, rushing din of unlikely tools."
Kate Crane, OZY, 2015
improvisers might be able to bridge the gap between our present thirst for novel timbres and our past predilection for
Jonathan Pfeffer, WXPN, 2015
"Powerdove’s vision of folk and experimentation proves to commune with their listener through arresting attacks and
precious compositions. Arrest is a well-rounded album that leads the listener to its conclusion through methods both
intuitive and confrontational."
Nicholas Zettel, Decoder 2015
"…the delicate arrangements of noises that compose Powerdove's new album do not sound like laborious
deconstructions but are rather self-evident manifestations drawn out of secret arcades connected to the most
ancestral lineage of American music."
The Drone, voted 'Best of 2014'
"Powerdove renews its vocabulary and hones its grammar. The new features create a nice surprise while the album is
driven by the subtle machinery of what makes their style so distinctive: an uprooted folk music that is simultaneously
tense and tender, savant and simple, bitter and melancholy."
Voted Best of 2014 by Indie Rock Mag
"...they’ve picked up where they left off. From the burst into violent life in a reedy, rattling tangle on ‘When You’re Near’,
to the cover of Arthur Russell’s ‘You Can Make Me Feel Bad,’ and the streamers-round-a-maypole whir of ‘Paper Tiger’..."
The Quietus 2014
"After listening several times to Arrest, the temptation is to quote John Cage: 'I have never heard any sound without
loving it.' Arrest is a cabinet of curiosity gathering old musical boxes, defective metronomes and the most original
instruments... Only Annie Lewandowski's poetic and earthly voice remains an unfailing Ariadne's thread in the maze of
this unique music."
oscillating between gentle madness and mutant avant-garde."
Reviews of 'Powerdove Solo at Ranieri Chapel':
"Annie, God, love, chapels, and guitar... the goddess with light feet. The live sound is like penetrating the impenetrable
voice of the Lord."
Reviews of Powerdove's 'Do You Burn?':
Clive Bell, The Wire 2013
(provided by John Dieterich) and percussive disturbances (Thomas Bonvalet) evoking desire both thwarted and fulfilled.
These plaints and poems of loneliness and connectedness, memory and forgetting seem to wing directly from the
unconscious—archetypal, lovely, unsettling."
David Yearsley, Counterpunch 2014
spell will linger for a long, long time to come."
Craig Carry, Fractured Air 2013
rarely feels serene..."
David McKenna, The Quietus 2013
is a sheen to its contours that speaks of the dawn as experience’s signature: not an admission of love but a love of
Tyran Grillo, Between Sound and Space 2013
dreadful and awe-inspiring. "
Ryan H., Tome to the Weather Machine 2013
Review of 'From the Garden City' with Caroline Kraabel:
gestures count in captivating, near silent dialogues..."
Stewart Lee, The Sunday Times 2010
Reviews of 'Cistern' with Doublends Vert (Tom Swafford, Adam Diller, Lewandowski):
accessible releases so far on Line and there's absolutely nothing wrong with that. Recommended? You bet. With knobs on."
bent music. If your christmas wallet calls for just one of these four new 12k/LINE CDs, I'd say go for this one. It's a most